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The Power of Simplicity

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Learning to play an instrument well is a long term endeavor. There is no short cut to overnight success, but there are longer and shorter paths. For intermediate level guitarists one of the most common areas of weakness is the tendency to want to throw everything they know, and at super sonic speeds, at every solo. While there may be some level of personal gratification in noodling around with flying fingers, and this is indeed a useful tool in the process of developing an overall skill set, bear in mind that speed apart from other elements of musical fluency typically does not lead to smooth, flowing phrases but rather sounds like what it really is … scale practice. When you get to that point in your playing when you have moderate speed but your phrasing feels unsatisfying, that is a good clue that you need to look more closely at the details of your phrasing. There is more to good phrasing than simply placing your finger on a note in a scale and getting it plucked at the right moment. Consider these elements of good phrasing …

Appropriate speed – many aspiring guitarists tend to play phrasing at speeds that are beyond their capabilities. Remember, you are going to play what you practice. Sloppy practice = sloppy playing. Sometimes it is needful to focus specifically on speed during practice, and at those times it is useful to attempt speeds beyond your current skills. At all other times, practice within a tempo that allows you to play well. Practice slowly and with good note articulation, two-hand coordination, and mental focus. Speed up only as your increased mastery permits you to play accurately and intelligently at higher speeds.

Note development – when you first learn scales the challenge is just to get through them, playing the right notes in the right order. Once you can do this predictably then the next logical step is to work on increasing your speed. However, this is where things can begin to fall apart. Before moving on to increasing speed, consider examining these elements:

        Legato – not to be confused with the term as used in the limited sense of describing the physical technique guitarists use to create a legato feel – hammers and pull-offs. Here we are talking instead about the musical ideal of smooth flow between notes. Make sure you are “connecting” each scale note smoothly, holding each note you play until it is time to pluck the next note, then carefully timing the placement of the fret hand finger with the pick attack on the new note, such that there is no unintended dead time between the notes.

        Dynamics – this refers to changes in volume in the most basic sense, but with guitar we alter volume from note to note with changes in the strength of the pick attack, and this in turn makes subtle changes to the overall quality of sound coming from the guitar/amp. Generally, for cleaner tones we need a more aggressive pick attack, and for distortion tones the distortion does a lot of the work so that we do not need to be as aggressive with the pick. Given those generalities, play to the song. We will not need to be as aggressive with Jazz as we would with Rock. Also, we can create a flow of dynamics within a phrase, such as picking easier at the beginning of the phrase with increasing aggressiveness toward the peak tension just before the resolution. Experiment with dynamics and see for yourself how it assists the sense of tension and release within a phrase.

        Duration – when you first learn scales and start practicing them with a metronome it becomes habitual to play in straight time – every note gets the same allotment of time. This habit then spills over into playing, so that your phrases are all rhythmically identical. Make it a point when practicing phrasing to vary the timing within phrases between half, quarter, eighth, sixteenth, and triplet timings, using bends and vibrato to embellish the longer notes.

Space – resist the temptation to fill every perception of space with extra notes. There will be points in the song where it makes sense to linger on a resolving note, such as at prominent chord changes. Good phrasing follows the pattern of speaking – a burst of words followed by the emphasis created with space. Then another burst, then another space. Experiment with imagining vocal phrases you think would fit well over a track, then try to match the vocal phrase you imagined with your guitar. It does not have to be a perfect match. The idea is to develop a capacity to create a flow of vocal-like phrases that match the flow of tension and release in the song you are playing over.

Vibrato – holding a note at the end of a phrase will indeed make your phrase sound like it has died unless you apply a robust vibrato. Vibrato is a powerful tool for maximizing the impact of resolving notes at the end of your phrases. Work on developing and refining your vibrato. Then you will enjoy the sound and feel of your resolving notes and this will alleviate the pressure to rush off prematurely to the next phrase.

Motive variation – this is a very effective way to cultivate a habit of getting the most musical value from few notes. Select an appropriate resolving note, such as the root note of the key. Then make up a phrase of four or five notes from the appropriate scale revolving around this resolving note. This reference phrase is your motive (theme). Then experiment with variations on note choice, note sequence, timing, and embellishments. These types of experiments will enable you to see the many possibilities for squeezing the most musical value out of few notes, rather than always running in a panic all over the fret board and hoping a good phrase will come out. Some of the most widely acclaimed guitar solos are also technically simple. Listen to B.B. King, Freddie King, Albert King, and similar Blues masters for abundant examples of phrasing that is technically simple, yet loaded with powerful emotional expression. When you are developing your solo phrasing do not strive for maximum speed at first. Instead, strive for maximum impact of every note. Practice technically simple phrases with good timing relative to the song rhythm, deliberate note development, appropriate planned spaces, and a carefully controlled vibrato. Experiment with motive variation in order to cultivate a habit of achieving maximum impact from few notes. When you can do these things without being distracted by them then you will be ready to move on to more complex and faster phrasings. Until then … keep it simple!

Keys to Creativity

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Among the challenges we face as developing guitar players, cultivating a sense of artistic creativity may seem among the most formidable. Many assume that creativity is a mysterious insight arising from the recesses of the fortunately gifted minds of a select few. In fact creativity is not a mystery. As with all things musical it responds to focused effort to cultivate it.

So how do you get from having “no creativity” to the point of being able to write songs and play improvisational solos?

First let us address the occasional Mozart who shows up with tremendous innate musical abilities. There is indeed a phenomenon of natural talent, but for most musicians, other artists, engineers, inventors, writers, etc., natural talent is not in fact the key to creativity. So the Mozart’s are irrelevant in terms of understanding how a person of typical native ability can develop creative prowess. Forget about natural talent, and most importantly don’t fall for the common misconception that creativity is something that you either have or do not have as a result of inheritance.

Now let us consider what creativity actually is. Is it really assembling something out of nothing in a mysterious seizure of inspiration from quarters unknown? No! Even Mozart had to sit with paper and pen and work his inspirations into orderly, flowing pitch and time relationships. Consider this quote from prolific inventor Thomas Edison, who’s record on creativity speaks for itself: “Genius is 1% inspiration and 99% perspiration”.

Creativity is neither an unknowable mystery, an accident, nor a fleeting peek into the ethereal mists. It is rather a predictable result of a process involving mastery of the fundamental elements of an endeavor, and then applying those fundamentals in such a way as to generate beauty of function and form. Notice that I did not say anything about creating something from nothing, or even something totally new. Creativity does not mean creating something from nothing. It means assembling the known into that which effectively solves problems or manifests beauty. It is well within the reach of anyone willing to apply themselves to the process.

Now let us consider how this applies to music, and specifically to guitar. Music is fundamentally two objective phenomenon: pitch relationships and time relationships. Musicians assemble these relationships in such a way as to create the more subjective phenomenon of an emotionally satisfying flow of tension and release. This does not require the creation of anything new, but rather a well developed awareness of how pitch and time relationships work together to create a satisfying flow of tension and release.
So let’s break it down now even more specifically to the things we need to have mastery over in order to make music that satisfies us and our intended audience.

1. Know your notes on the fretboard – everything we do as musicians involves assembling notes in melody (one after another) or harmony (in unison, such as a chord or double stop) with reference to a tonal center (key). If you do not know the notes then you are limited to playing by patterns or by ear. While playing by patterns and by ear are useful tools, if you wish to cultivate maximum creativity then you need to allow yourself as many options as possible.  If you can visualize the letter names of the notes you are playing then it is much easier to choose resolving notes for phrases, or make useful alterations to chords to achieve just the right shade of mood.

2. Know the names of the notes in the Major Keys – the Major Scale is the starting point for all we do. Everything else is an alteration of some sort to a Major Scale. If you know the names of the notes in the key you are playing, and can also see them as you play them on the fretboard, these together will give you a great deal of power to achieve a desired musical effect without having to always guess your way through things with experimentation.

3. Understand Intervals – intervals are the building blocks of the pitch aspect of music. A thorough understanding of intervals will allow you to know what effect a note is going to have before you play it. If you know your intervals then you will be able to create musical effects at will, alter scales and chords to create precise shades of emotion, and transfer musical ideas from one key to another with ease.

4. Understand the effects of the basic divisions of the beat – along with pitch relationships, relative timing between pitch events is one of the fundamental components of music. A good set of timing relationships by itself is very powerful (think of a powerful drum intro that sets the mood for a song).  If you understand the basic divisions of the beat and how to modify them to tastes then you can create strong shades of mood at will.

5. Understand scale harmonization – knowing how to translate a particular scale into chord sequences will enable you to assemble pleasing chord progressions in a matter of moments. Knowing the chords in the key and the notes in the chords will also give you a lot of useful options for resolving solo phrases.

6. Listen to a lot of music – musical inspiration is often a residual effect of exposure to other music. Saturate your creative muse with immersion into a wide variety of music, and pay attention to the individual details such as the vocals, drums, and bass. In doing so you will cultivate a deeper intuitive understanding of music, much as a child learns to speak by regular exposure to speech.

7. Start from the known – creativity is often a matter of slight alterations to common ideas. Learn the signature licks, chord types and sequences, and rhythmic ideas of the masters of your preferred style. Then experiment with alterations until you uncover ideas that express what you wish.

8. Constantly refine your technique – if you have ever wondered how an accomplished  guitarist can play something very simple and yet have it sound very beautiful and powerful, the trick is in the technique. What many experience as a “lack of creativity” is in fact a lack of technique refinement that will make an otherwise great idea sound lifeless or even just plain bad. Technique development is not just a matter of mere repetition. It is essential to pay attention to the quality of sound (a.k.a. “tone”) during technique development practice. Don’t rush through technique exercises with the goal of merely getting them over with as quickly as possible. Listen carefully to the small details. Strive to improve the quality of sound resulting from each pick stroke.

If you are breathing then you have creative potential. If you cultivate the appropriate knowledge, technique, and persistence then you can be sure that your creative muse will show itself. Get to work!

A Secret of Success with Guitar

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Catchy title, eh? Notice I said “A secret”, as opposed to “THE secret”. The truth is, there are many elements that contribute to success in any endeavor. They are not really secrets either, they just seem that way to people who have not perceived them yet. We are going to discuss one “secret” in this article that will be of great value to you as you strive to improve your guitar skills. This will also apply to about anything else you do in life.

I am going to guess that when you saw the title of the article you might have been expecting I was going to provide some kind of short cut that would make it easy to improve your guitar skills in a very short time. Did you? Well, sorry about that. No such luck. About the closest you are going to get to that ideal is “find a great instructor”. Unfortunately there are no easy ways to become a musician. There are only more effective and less effective methods.

If you want a straightforward bottom line about becoming a competent musician, the key concept is WORK. If you are one of these who has believed that it is all about “natural talent” I hope I can dissuade you of that view. I won’t go deep into that topic in this article, but if you want to check it out for yourself you can do some research on some of your favorite musicians and how they got to be great.

Now, if you have been a human being long enough you have probably figured something out: we don’t like work much. Work is hard and boring. We would much rather play, right? As humans we all have an inherent aversion to work known as LAZINESS. If there is any one thing that is most likely to derail your musical aspirations it is laziness. Laziness manifests in many forms, some very obvious and some not so obvious. The obvious ones are such as this, “I would rather watch TV than practice guitar exercises”.  The more insidious ones might be along these lines, “I need to practice my harmonic minor scales, but it is more gratifying to just blast away on the Pentatonic Minor I already know, so I will do that for 30 minutes and practice Harmonic Minor for 2 minutes.” Or maybe this, “I know I need to follow my practice schedule but I will ‘warm up’ with my favorite songs first and then work on my practice schedule.” 45 minutes later … you know the routine. Another one, “It seems to me that I can get this piece played easier using my ‘natural’ technique rather than following my evil teacher’s more challenging technique recommendation which requires me to concentrate.” Yet again, “I know I am supposed to repeat this slowly and methodically, but I am going to disregard that and play it as fast as possible and hope that will work better today, even though I know it never has worked better.” The biggest killer of all, “I’m really busy today and one practice session won’t make a difference anyway.” Or how about this, “I really need to practice, but I will instead waste two hours having supper and spending quality time with my family”.

Ok, maybe that last one is a bit too extreme for you who are not REALLY committed just yet! Don’t worry, you don’t have to be that radical to get pretty good on the guitar. The point is that laziness is a deadly enemy to progress. It comes out in many ways and is always on your shoulder, whispering to you – take it easy, go the easier route, find a less challenging way to do this, take a short cut, if I had any talent this would not be hard so I might as well give up, etc.. We must overcome this if we are to succeed. So, you might be thinking the answer is discipline, right? Well, yes. However, laziness is a powerful and deceptive internal adversary and the truth is that most of us do not have the wits or the kind of internal discipline we need to overcome it – by ourselves.

And there in that last phrase is an age-old, very powerful secret of success, utilized by nations, armies, corporate leaders, athletic coaches, and other kinds of team leaders across times, places, and cultures. It is powerful enough to squash the roaring demon of laziness into a pile of goo.

Do you see it yet?

Imagine this. You are on the football team and the coach passes out a sheet at the beginning of the week. On the sheet is the list of all the agonizing physical torture he wants you to inflict on yourself this week. Since he knows you have self-discipline he trusts you to see to this, meeting adjourned, see you next week. You go home and look over the list while you are watching TV and eating donuts. If you are especially self-disciplined you might even memorize the contents of the list. You may even go out and run a half mile until you get winded and it starts hurting your legs. Then you give up. After all it is 90 degrees outside and this is boring, and besides who will know or care if you cheat?

Do you think a football team would get very far with this approach to preparation?  No, of course not. That is why you are going to stay at the field with all the rest of the team and torture yourself under the observation of the coach and the peer pressure of the rest of the team.

Hopefully by now you are seeing the principle that I am getting at, but if not, I will spell it out plainly here. The “secret” I am speaking of is COMMUNITY. You may hear it called teamwork or work group or network or some other name, but the basic concept is the same – the most effective way to combat laziness is to be part of a social network where you are inherently held accountable for  the results of your work. Inclusion in a social network will provide negative feedback in the form of embarrassment if you fail to perform, and positive feedback in the form of praise and respect when you do perform. In addition, we all tend to have a competitive instinct such that we will almost automatically try to out do the people around us. Furthermore, we have an internal mechanism that feels obligation to meet the expectations of our friends. And again, it is built into us to derive great satisfaction from being part of a special group defined by our unique successes. So we have all these very powerful motivators sitting inside us, ready to do battle on our behalf against our arch-enemy laziness. These are the same motivators that have brought victory to armies, athletic teams, companies, the list goes on and on. These motivators are inert until exposed to a group environment, then they rise up and start kicking down walls!

So you have something to do here. You have all this potential power inside but it is up to you to get it activated. How do you do this? Well, you need to get involved with other musicians. Taking lessons is a great step in the right direction. Tell your family and friends that you are learning to play guitar and you are serious about it and you will not accept less of yourself than success. Try to get a friendly hobby band together if possible, or just hang out and jam as much as you can with other friends who are musicians. If you are in church you can see if they will let you join as a future back-up musician while you are learning, then you sit in on the weekly practice and try to play along. Get involved with a local musical fellowship through MeetUp.com. There are a hundred ways, but you need to do something to get yourself involved in some kind of group setting.

For my actively enrolled students I offer access to a private Internet forum. Internet forums have become explosively popular in the last decade and there are many opportunities for networking this way. However, it will do no good to look over the forums from time to time. You have to get involved. You have to get known in an environment where people are doing the same thing you are doing. You have to engage in friendly competition with people at your same level (you do not have to state this, it will happen automatically. I do not recommend telling people you want to compete with them until you know them really well). You have to let people know what your goals are and what you are doing to get there. You must show interest in their goals and progress and thus build mutual respect and goodwill. It will come back to you many times over.

This attachment to a group is CRITICAL, I can not over-emphasize this. It will keep you going through the many times when the path of progress takes you through spots that are tedious and frustrating. If you decline to get involved socially this way then your chances of succeeding are greatly  reduced. Contrarily, when you do connect with a group of musical peers you will not only achieve more but will also enjoy music much more. After all, music is a form of communication. It is rather pointless if you do not share it with others.

How to Become a Great Guitar Player in 9 (not so) Easy Steps

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1. Identify your goals – It is important at the outset of your musical endeavors, or if you are an intermediate player who has hit “the wall” then right now is the time for you, to determine exactly what it is you wish to accomplish. If you look around at the community of guitar players you will observe that most of the iconic players are known for one particular musical style. By focusing on one narrow specialty they were able to focus on developing the technique and knowledge pertinent to that specialty to a very high level. It is not necessary and not wise to attempt to master all styles of music, especially so for a hobbyist who is necessarily under time constraints. Determine what kind of music you most want to play and identify the technique and knowledge you need for that style. Then don’t squander precious time on things that do not apply to your goal.

2. Listen to the music you enjoy – For some rare, unusually gifted musicians most of their musical inspiration seems to come from some secret well-spring within themselves. If you are one of these you would have known it before you were able to read, so if you are reading this odds are you should not waste time trying to bypass the route most of us have to take to musical creativity: learning from those who have gone before. Identify those guitarists who you most enjoy listening to and wish to sound similar to, and spend plenty of time just listening to their songs. This will inspire you to practice, awaken your own creativity, and sharpen your discernment of pitch and time relationships.

3. Work with a good teacher – people who do not know much about making music commonly believe that music is simply an outgrowth of the personality, and so polluting the muse with organization and technical ideas is a sort of poison. That sort of thinking is why these people are not musicians, or not very good ones. For maximum results in the shortest possible time work with an expert coach who knows how to help you refine your goals, steer you toward the appropriate tools, and eliminate common useless side roads and pitfalls.

4. Master the basics – we all covet advanced playing skills and the accompanying freedom of expression. However, we don’t climb mountains by jumping from the valley straight to the peak. Rather we climb up one step at a time until we reach the peak. Trying to start out with guitar by tackling advanced songs from master guitarists is a sure path to overwhelming frustration and poor overall skills. Start with the basics, and practice them to the point that they come automatically. Then start working on the advanced stuff.

5. Practice well – We have all heard that the key to musical mastery is, “Practice, practice, practice.” While that apt cliche is indeed as true with music as it is with any realm of human endeavor, it fails to answer some very important questions: what to practice and how to practice. If you wish to become a great or even just a good musician, you should approach practice as a labor of love, with emphasis on labor. Practice should be an organized effort to achieve clearly defined goals, rather than another session of doodling with the same bits and pieces of songs from yesterday’s practice session. Random doodling is playing, not productive practice.

Here are some keys to effective practice:

–Assemble a practice schedule that addresses knowledge and technique relevant to your goals.

–Follow the instructions – “playing by feel” is the shortest path to going in circles of self-sabotage with your practice routine. It may carry you for a while, but eventually it will lead to a dead end. Whatever manner of instructional materials you are using, practice according to the instructions. When you have mastered the piece of knowledge or technique at hand you will then be able to incorporate it into that body of things which you can effectively apply by feel.

–Cultivate good habits – habit is powerful either on your behalf or to your detriment. Habit will respond to whatever you put into it, either great things or mediocre ones. Utilize good technique, proven methods, and pay attention to details during practice. Make it a habit to push your mind and hands for an increment of improvement during every practice session, rather than habitually accepting yesterday’s routine as today’s standard.

–Memorization – memory, both physical and mental, responds best to focus, repetition, relation to the already known, and consistency. This is why it is very important to have an organized practice routine and to practice as often as possible. Shorter daily practices will yield better results than weekend marathon sessions.

6. Creativity – self-expression is impossible when one is utterly distracted by managing the basic facets of musicianship. Beyond that, creativity in music is rarely a matter of coming up with something that no one has ever thought of. That is not possible at this time in history. Creativity is more a matter of taking what is already known and putting a new spin on it, or assembling it in some novel way. Every human being is creative. What most folks consider a lack of creativity is really more a lack of technical skills distracting the attention away from what the internal creative muse is trying to deliver. If you want to experience the fullest of what your internal muse has to offer, get past stumbling over the basics as soon as possible.

7. Managing Frustration – mastering music is a complex long term endeavor and some frustration with the process is inevitable. Don’t let it become a bigger thing in your mind that it is in reality. Feeling frustrated can not stop your progress in any way, unless you choose let it stop you from practicing. Avoid comparisons to other players. That has no bearing at all on your progress and so it is an utterly useless waste of time. Don’t allow perfectionism to creep into your thinking. Even pros make mistakes, and the music is still quite good despite the occasional mistake. Be sure you are following the instructions. Much undue frustration arises from trying to play by feel rather following the instructions. Allow yourself due credit for what you have accomplished, and measure your progress by objective standards rather than how you feel about your progress. Such feelings are typically unrealistically harsh and often adopt the feeling of frustration itself as a measure of progress, or lack thereof. Feeling frustrated has no bearing whatsoever on the objective reality of your progress, so don’t let your mind sabotage you with such tricks.

8. Managing Stage Fright – psychologists identify a phenomenon that occurs when we are trying to perform any kind of challenging task under direct observation. They call it “performance anxiety”. We musicians usually refer to it as “stage fright”. It is one of the most challenging aspects of music, but like all things musical it will respond to strategic efforts to bring it under control. Stage fright is a lower-level instinctive response to stress such that our bodies gear up to respond with vigorous action. Since we need to be relaxed and focused to perform music well, stage fright is detrimental and even crippling to our musical abilities. However, as powerful as this instinct is we can learn to suppress it with practice. And that brings us to step 9 …

9. Play with others – music is ultimately a means of communication and as such it is rather pointless to do it at all if we are not going to share it with others, kind of like learning a second language with no intent other than continually practicing it alone in front of a mirror. Playing with others is not only fulfilling but also helps identify weaknesses in our knowledge and technique for further study, allows us an opportunity to learn from others, and gives us experience in managing stage fright. It is also important in a general sense to include a social aspect to our experience of learning music, both in regards to celebrating our successes and sharing the burdens of the process. As soon as you can play basic chord rhythms you should seek opportunities to play with other musicians. If you have no musically inclined friends, look online into the local fellowship communities such as Meetup where you can find amateur jam sessions that allow for folks with moderate skills to participate in a group setting.

Mastering music is not easy, but it is possible even for the hobbyist with time constraints. Practice wisely and well, be patient, and never give up!

Nature vs. Nurture: The Secret to Overcoming Fatal Guitar Technique Flaws

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After a decade of teaching guitar and interacting with other teachers and many clients, I can make a number of predictions on what any aspiring guitarist will struggle with and how the various responses to these stumbling blocks will either help or hinder progress.  The guitar is a challenging instrument, and there are any number of areas where one might encounter a temporary roadblock. Of these typical areas, there is one I have enumerated in my previous “Top Ten” article that stands out above all others as the number one barrier to progress: not following the instructions.
Allow me to clarify this concept since the phrase alone may seem too broad and actually contrary to your experience. I doubt you have ever openly refused to learn a particular chord, for example, or a basic scale pattern. This is not the sort of thing I mean when I suggest that a significant percentage of guitar students often stumble in implementing course recommendations. It is not a matter of people intentionally side-stepping the instructions. Rather it is that certain aspects of optimum physical technique run contrary to our instincts. Most students tackling a challenge in physical technique tend to unconsciously default back to instincts rather than consistently apply good technique recommendations. For the record, I am guilty of this as much as anyone, although I have improved significantly over the years in applying what the guitarist community has found to be the most effective technique development methods.

Now let me narrow this down to the specifics items that I see over and over. If any of these seem to apply to you, keep in mind that I am not writing about any specific person or experience, but rather my collective experience as a guitar student and teacher. I assure you that although some of these may apply to you, they are universal themes in the guitar community, so don’t feel like I’m singling you out to give you a hard time!

1. Tickle the strings rather than tackle them.
2. For playing open or bar chord rhythms, use a wide, fast, and light-contact pick stroke.
3. For playing individual notes or two-string intervals (fifth chords, double stops) keep the pick hand palm turned into the guitar so that the pick moves parallel to the plane of the strings with a mere flick of the wrist.
4. Apply no more pressure to the strings/frets than necessary to sound out a clear note.
5. Avoid grasping the guitar neck with the palm and thumb as if it were a baseball bat.
6. Use your elbow to change the working range of your pick – not your wrist or your shoulder.
7. When changing to an upcoming chord, avoid chopping off the last beat of the previous chord by releasing pressure too early.
8. Unless you are practicing certain exercises specifically intended to develop speed, do not practice at a tempo faster than you can play with good note articulation and two-hand synchronization.
9. When learning a new rhythm pattern, go slow and consciously count the beats and divisions of the beats, rather than trying to play the rhythm by “feel”. Once you have conscious mastery of the pattern only then should you work on keeping time by feel.

If you have taken lessons with me for any length of time, you will know that I teach these things routinely, so you may wonder why I am taking up a Newsletter column with this routine lesson fare. There is a reason I am emphasizing these things for you:  between knowing good technique and doing good technique, there is a subconscious barrier that we all struggle with: instinct. As your teacher, one of the most significant challenges I face in helping you develop your skills is your own instincts. Your basic instincts tend toward moving the fingers as a unit, favoring the index finger, using much more strength than is necessary, and handling the pick as if it is a plow. Your secondary instinct is to do  just the opposite of this. For example, when attempting to play scales for the first time, you will note that your fingers want to stay together and mute the string you are trying to pick, so you will then pull your other fingers way back from the fretboard. Then you have to slam the next finger down like a dive bomber in order to stay in time on the next note. This causes subtle delays that cap your top speed at limits far below your potential.

The first step in conquering this barrier is to be aware of these instinctive actions and over-reactions, so that you can be ready to spot them and counter with deliberate focused repetition of a balanced, optimum technique method that cooperates as far as possible with your natural physiology.  Then, apply focused attention to repetitions of good technique. Repetition of good technique results in habits, such that good technique becomes increasingly automatic, enabling to you to move between chords and notes accurately with little conscious effort.

Here is where the process breaks down: the focused repetition of good technique, and namely, the focus part. Your hands will constantly try to resort back to instinctive positions and motions, even though your conscious mind is well aware of these issues. You must pay close attention to these details of technique when you practice. This can be tedious at times, but the pay off is more than worth the effort!

Keys To Guitar Mastery: Focus

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Among the challenges we face as developing guitar players, retention of knowledge and technique is certainly high on the list of obstacles. As with any long term complex undertaking, we can take shorter or longer paths to the same end. While common sense dictates that we take the shorter path, there a number of ways to step off the shortest path without realizing it. For maximum results in the shortest possible time we need to be aware of these potential pitfalls and make every effort to avoid them.

A prevalent obstacle to maximum progress among developing guitarists is lack of deliberate focus during lessons and practice. Repetition is a potentially powerful aid to recall and technique, but repetition without deliberate focus can actually cultivate less than optimal mental and physical habits and thus hinder progress. Contrarily, repetition combined with deliberate focus will enable your mind and hands to progress at their maximum rates.

It is important to understand that deliberate focus is not the default mode of the human mind. Our tendency is to let the attention wander around to different things, and thus sustained focus on one thing requires some conscious effort. Additionally there may be no feeling of increased progress while making the extra effort to stay focused, and so there may be no immediate sense of gratification in exchange for the extra effort. However, both science and common sense reveal that all types of memory, including muscle memory, achieve their peak power in response to sustained focused attention.

So let’s look at some specific applications of deliberate focus in overcoming common pitfalls. It is not practical to attempt to cover every conceivable situation in which lack of focus will hinder your progress, but looking at a few examples will paint a clear picture of how this works. You will then need to use good judgment in applying the general idea toward finding specific tasks where lack of focus is holding you back.

1. Paying attention to instructions – it is very easy to allow the mind to wander off in the middle of an explanation, then practice something wrong all week. In some cases I have seen students so excited about learning something new that in the middle of my demonstration they take off trying to figure out what I am playing by ear rather than concentrating on the demo, which of course defeats the purpose of the demo. While I commend the passion about learning new things, this is an obvious example of not paying attention to the instructions, and the results are predictable – we have to go over it again. Whether your instruction method be a book, video, or personal one-on-one lessons,  be assured that you will get better results by controlling the impulse to take off playing as soon as you have the first hint of where to put your fingers, and instead getting your mind around the full explanation before attempting to apply it.

2. Following the instructions – assuming you have paid attention to the instructions and thus have a sufficient understanding of what to do, the next step is to apply the instructions. Certain details of optimum physical technique are often at conflict with our natural inclination toward doing what feels physically easiest for us at the moment. While few would argue whether or not following the instructions is important, some aspects of our motor skills operate at a subconscious level. While attempting scale exercises for instance, we must manage a number of things simultaneously such as note location, timing, and coordination of the picking and fretting hands. It is very easy in this kind of multi-tasking situation to allow the fingers to revert to auto-pilot while we monitor other details, and then we slip into repeating poor physical technique and allow it to become a self-defeating habit. It is very hard to break ingrained poor physical technique habits. Do not allow this to happen. Follow the instructions!

3. Frustration – nothing will derail your focus faster than allowing the feeling of frustration to take over your consciousness. This is a certain path to lagging progress, which leads to more frustration, and so it becomes a cycle of self-sabotage. Don’t let it happen. Assuming you are following a good program of instruction and are actually following the instructions accurately, indulging frustration is a waste of your time and effort. Do not allow frustration to become your measuring line of how well you are doing. Frustration is a typical human response to any complex endeavor and it does not necessarily mean you are doing things wrong. If you know you are working on what you are supposed to be working on to reach your goals then when you feel frustrated you should put it aside and stay focused on what you are working on instead.

4. Timing – while learning to apply new scales or develop efficient chord changes, it is common to focus on simply getting the finger motions done to neglect of the critical timing details that make these things sound clear and smooth so that you acheive a good sense of musical flow. Pay attention that each note of a solo gets a clear pick stroke and “air time”. Stay focused on matching your notes up to the underlying beat. Make sure that you are continually pushing yourself for faster chord changing so that each pick stroke of your chords is clear, rather than chopping off the last pick stroke of a chord just before the chord change. That is a lot to manage simultaneously, but it will get easier with time and repetition until you can do it automatically. In the interim, stay focused on timing!

5. Speed/overplaying –  beginner to intermediate level guitar players often show a tendency during solos toward filling every perception of space with as many notes as possible. While an intelligently executed run of sixteenth note triplets can add a lot of intensity to a solo, this is not the same phenomenon as simply blasting every bit of space of with a battery of memorized scale patterns. While soloing you should be focused on timing, note articulation, and creating a sense of tension and release. Do not allow yourself to fall into mindless ripping of scale patterns. Blasting scale patterns at top speed is practice, not playing. While playing focus on the flow of tension and release so that you are saying something with your music rather than simply showing off your mastery of scale patterns.

Keep in mind … focus is a choice rather than a “talent”. You will never develop a mental habit of deliberate focus without determined effort to make it so. It does get easier with time and repetition so get started today looking for deficiencies in your level of focus. The results will be worth the effort.

Finding the Right Guitar Teacher for YOU!

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By Chad Crawford, PMI Blues/Classic Rock Guitar Instructor

Imagine this plan for buying car: call the two or three dealerships nearest your house, find the cheapest car available on these lots, and buy that one without  any further consideration.  Does this seem like a good plan to you? I hope not! And yet, this is how many folks approach the search for music instruction. If you are one of these then I hope to persuade you that music instruction, just like cars, comes in many levels of quality, features, and cost. You need to know something of how to find the right teacher for you before you even begin looking for a guitar teacher!

So let’s take another look at the car analogy. How do we know what car to buy? Well first of all, we know that however much it is going to cost this is going to be more than we want to spend, so we may as well put that aside for the moment. We start with what we need in a vehicle. If we need to carry four or five people routinely, we need a large sedan. If we need to carry four or five people AND a bunch of equipment pertaining to extracurricular activities for the kids, we need an SUV. If the need is for general purpose cargo hauling, then of course we need a truck. Towing a boat? We need a big motor. No boat? More concerned with fuel economy? Then a smaller motor is in order. We pick the vehicle FIRST, before even considering where to buy or how much to pay.

Once we know the vehicle we need, we might do a bit of research on the web, ask some friends, etc., to find what brand and type are most reliable. Then we find out the nearest places we can find such a vehicle. Only then do we go looking for an actual example of the vehicle on a lot somewhere … not necessarily only the closest lot to home. Why not the closest lot? Because the closest lot may not have the car that most closely matches all of our goals and preferences, and of course at this point we are looking for a car that we can afford!

So then, the final decision is the result of a balance of multiple considerations. And so it should be with a wise choice pertaining to selecting a good guitar teacher. You are going to spend a year or three or five of your life with your guitar teacher, and hundreds or maybe thousands of dollars. Is it wise to make such a life-impacting decision with no forethought? It is conceivable that one by sheer luck could go the closest music shop, pick the cheapest teacher, and end up with the best possible teacher for them. It is also conceivable to win the lottery. The odds are about the same for both scenarios.
What are the steps for identifying a good guitar teacher?

As a beginner or early intermediate guitarist you may have difficulty discerning if a particular teacher is the right one for you. The right teacher for you may be different at varying stages of your progress. The idea is here is to eliminate the ones you KNOW are not right, and then make an informed guess as to which one will be the most appropriate for your goals and other pertinent considerations. By following the steps below you will greatly increase your odds of correctly identifying the right teacher for you early on, and avoid wasting precious time and money with a poor match.

Step 1. Know the facts: Not all teachers are the same. Some teachers are mediocre, some are great, and most are in between. Not all good players are good teachers. A music degree does not automatically make for a good music teacher. Cost is certainly a factor for all of us in considering any kind of financial investment. However, as with most any other investment, generally you will get what you pay for. If a mediocre teacher charges you half the price of a good teacher, but it takes you four or five times as long to reach your goals, you have come out  behind both financially and in terms of your guitar skills. Likewise, if the closest teacher to your house is not the right teacher for you, the few minutes of driving time you save per trip will be swallowed up in the extra months or possibly years it takes to reach your goals.

It is very important to remember here that you are looking for a person at this point – not a location or a price. We will come back to cost and location later. Learning an instrument takes a lot of time and money. You do not have time to waste with a mediocre teacher, and if you are like most folks you do not have money to throw away either. If you have to pay more per lesson and/or drive somewhat  farther to get a good teacher who can get you results, do it!

Step 2. Define your goals: You need to know what your end goals are before you go looking for a teacher to help you reach them. The guitar is a very versatile instrument. A classical style guitar is very different from a heavy rock guitar. The physical techniques AND knowledge required to play them well are very different. Just like most other areas of human endeavor, you may have some interest in a wide range of specifics, but you will only be able to excel in ONE of these areas. Identify the style of music that you most enjoy and want to be able to play well. You will need a teacher who knows how to develop the knowledge and physical skills specific to this style.  There is some overlap between styles, such as Blues and Classic Rock. However, if you want to excel at bluegrass flat picking, a heavy rock oriented player/teacher is not going to be your best choice.

You also need to consider how far you want to go with guitar. Hobbyist, pro, or something in between? If your goal is campfire hobbyist with just enough skills to carry simple folk tunes, then the average Joe teacher at the closest shop might work for you. If your goal is at the other end of the spectrum, then you need an experienced teacher with a strong grounding in music theory and performance.

Step 3: Seek out the teachers in your general area that appear to be a match for your goals. This does not need to take six months, but it need not be confined to a day or two either. Yellow pages blurbs often have very little information, often only an address and phone number. You may have to make a number of phone calls, and ask a number of your musically experienced friends who they recommend. Many teachers now have personal web sites that you can examine for clues as to whether they are a match for your goals.

Most importantly, try to get an interview with the teacher before investing in any lessons with them. You can do this by phone, but a face to face interview is best. A personal interview is a chance for you to perceive your potential teacher’s personality and character. In addition to your guitar-specific goals, you will need a teacher who you enjoy, respect, and trust. At first your lessons are going to be exciting and fun, but there WILL come a time when it starts to get challenging. If you do not like your teacher and do not trust his or her competence as a teacher, it is going to be hard for you to stay motivated to keep showing up for lessons when you run into the inevitable frustrations.

Step 4: Interview your prospective teacher.  Now, let me qualify this. There is no need to approach a potential instructor with a cold list of demands. When I say “interview”, I do not mean as if you are questioning a suspect. I simply mean to ask some pertinent questions of your potential teacher within the context of a friendly conversation. Here are the things you want to find out …

–What styles do they teach? If circumstance permit, inquire of this before you share what kind of style you are interested in learning. You are looking for someone who plays and teaches in a style that is the same or closely related to the style you want to learn. If the answer is “I teach all styles”, find another teacher. Be careful with this. If you call a music shop or school and ask this question, they may answer, “All styles”. For a shop or school, it may well be that they have multiple teachers who specialize in various styles. In this case, you need to try to get an interview with the teacher who is most specialized in your style.

–What kind of person are you dealing with? This is a more subtle criteria without cut & dry identifiers. What you are looking for is a person who is genuinely interested in you as a person and is internally motivated toward helping you reach your goals – a person with a “teacher’s heart”.  To illustrate this kind of instinctive measure, I refer you back to your school teachers and athletic coaches. You probably remember some who you knew really cared about you and your success, and some who didn’t. Which teachers and coaches got the best results from you and for you? If your potential teacher is cold, acts as if you are a bother to their busy schedule, or as if your questions are insulting and irritating, you will know this is a person who does not have a teacher’s heart. Find someone else.

At the risk of being a bit redundant and tedious, let me tell you that I can NOT overemphasize how important this is! You may not care so much about how your teacher feels about your progress and results. But you do want the results. That is what it boils down to for you: one with a teacher’s heart will be passionate about your results. Driven by this passion, they do what it takes to become effective at teaching, and you reap the rewards of this effort. I have had guitar instructors with true teacher’s hearts, and others who were lacking in this vital element of effective teaching. The difference in results is exponential.

–Organized, structured program of instruction. Sadly, many guitar teachers have no idea what they are going to teach you until you sit down in front of them every week. You want a teacher who utilizes organized reference material such as a recognized teaching manual, proven method, their own custom course, or a combination of these, as well as a means for tracking your progress.. You do NOT want a teacher who is going to passively let you tell them what to teach you. A teacher like that is only interested in one thing – collecting your tuition for as long as possible. If you knew what you needed to learn and how to learn it, you would not need a teacher. A good teacher will strike a balance between your short term goals and their greater expertise as to what you need to know. You want a teacher who will push you to learn and consistently utilize proper physical technique, help you set up a practice schedule, help you identify & reach short & long term goals, etc.

–Considerate of your goals. There are many guitar teachers out there who couldn’t care less about your goals. They just want to want to get paid for playing & talking about themselves and guitar. They are pretty easy to spot … most of the time you spend with them consists of you listening to them play. A potential teacher should in fact ask you some questions … your previous experience, your current skill set, and your goals. The focus of your time with any instructor should be on YOUR SKILLS, not theirs. Of course they will need to demonstrate things for you, but the general focus of your time should be on improving your skills, not showcasing their own.

–Trained to teach. Teaching is a complex art form entirely separate from musical expertise. There are some people who are naturally gifted at communications and this lends itself well to teaching. You may be able to find a good guitar teacher who has not had any specific training in teaching. However, your odds of finding a good teacher are higher if you can find someone who has specific training in teaching as well as good musical abilities. Your odds are even better if you can find someone who has specific training in teaching guitar.

–Finally … you will want to inquire about costs. Be sure that you find out not only the costs of the lessons, but the costs associated with any books or other required materials, such as a metronome.

Step 5: Weigh your options and make a decision. You now know the locations and prices of a number of teachers who appear to be qualified as a good teacher for you. You will have various impressions of the various teachers and probably have an order of preference as to which ones you would most like to work with. Now it is up to you to balance these preferences against costs, driving time, and how important it is to you to reach your guitar goals compared to other things you could do with your time & money.

Work hard and stick with it until you win. It is worth it. Best wishes for your success!

The author of this article will be very interested in discussing your interest in the guitar during a free no-obligation interview with you. Click HERE to schedule an appointment.

 

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